Chapter 3 Fighting Fundamentals here are certain important elements to every kind of fight choreography you perform, whether it is unarmed or withT weapons. We’ll cover these before go- ing into specifics of each particular move. Balance Unless choreographed to do otherwise, you should always keep your weight evenly distributed between your feet. This allows you to move in any direction at any time. The feet should be at least shoulder width apart, with one foot forward. Keep the knees bent to lower your center of gravity. Keep your back straight and vertical to keep yourself centered. This also has the effect of making you look a lot better in a fight. (Here’s a secret to remember. Stage combat is not about how good you are; it’s about how good you look.) This basic stance provides you with the most stability. The bigger the stance, the more stable the combatant. Typically, you will widen your stance when you employ weapons, the heavier the weapon, the wider the stance. We tend to refer to this stance as the “ready,” “en garde,” or “neutral” stance. En garde (right foot forward). 1 Eye Contact Distance Eye contact is used for a variety of reasons, Most of the time, fighters perform their magic all dealing with non-verbal communication. act out of distance. The greater the distance be- When you are ready to perform a fight, you tween two combatants, the more time the “vic- first establish eye contact with your partner. If tim” has to react to an attack and, subsequently, you avoid eye contact, this is your way to say, more time to adjust if something goes wrong. “I’m not ready for whatever reason.” You should From a neutral stance, you measure the make eye contact at the beginning of the fight distance from your partner based on the kind and at the beginning of each move or series of weapons being used. Unarmed combat- of moves, whenever it makes practical sense. ants extend their arms forward and mea- Eye contact is also the first indicator that Measuring unarmed distance. something is wrong. If your partner has a “deer in the headlights” look, you know they are lost sure 3-4 inches from the tip of the longest and can help them find their way back into extended finger to the tip of the nose. By the fight scene, or skip the fight altogether. maintaining this distance, every punch, no Never maintain constant eye contact. The matter how wild, will miss. At the same time, hand tends to go wherever the eyes are look- it is close enough to look like it connects. ing, so a blow to the shoulder could easily As an experiment, while measuring this transfer to the head if eye contact is main- distance, roll your shoulder forward. You tained. After making the initial eye contact to can gain an extra couple of inches with say “I’m ready,” look at the target you are a simple shoulder roll. I mention it to il- attempting to hit. This helps you to stay on lustrate how small body changes can have target and is an additional reminder to your far-reaching effects (pun intended). partner of where the next move is going. Put a sword in your hand and you need to Remember that shifting your eyes is much increase the distance until there is 6-8 inches less noticeable to an audience than moving your between the chest and the tip of the sword. whole head. Look where you’re going and use Quarterstaff distance is the length of the your peripheral vision where appropriate. quarterstaff from belly to belly (put one end 2 of the quarterstaff against your stomach, the Targeting other end against your partner’s stomach). Not maintaining the proper distance is the Stage fights are based on real fighting most common error for combatants. It is im- techniques, but with the targets altered to portant to practice “coming into distance” by less dangerous locations. Targeting is critical establishing your proper distance from your for a successful stage fight. Proper target- partner, walking away, then walking back to ing achieves two goals, safety and illusion. your partner and stopping when you think When one combatant does not target you are back at the proper distance. Once properly, the other combatant has a tendency you come to a full stop, check the distance to adjust to the bad targeting. Typically, this and make sure you eyeballed it correctly. results in the two partners closing the distance between them until every blow is a potential accident waiting to happen. Whenever two fighters are not tar- geting properly, the first thing I check is their distance. Fixing the distance usually fixes the targeting problem. When fighting a duel with swords, the real deal meant a lot of thrusts aimed at the face. Since the face is the actor’s bread and butter, stage combat attacks redirect the aim at the chest and arms instead. It’s not histori- cally accurate, but remember, “Safety First, Safety Last, Safety Always.” Proper targeting also means mak- ing blows at the correct angle and height. It’s very hard to sell a punch Measuring staff distance. to the face if the fist is at chest level. Correct targeting sells the illusion that Also try this with various people, walls, trees, two combatants are trying to hurt each other. or any large object. If you can eyeball your In most cases, proper targeting means distance, you will know when you violate it. aiming to miss, not to hit. There is very With a partner, face each other at distance, little actual contact involved with staged and then both walk 5-10 steps in one direction, fights. There are exceptions, but I fol- maintaining distance. Check to make sure the low the mantra of “No pain, no pain.” distance is correct. After a while, practice “push- ing” each other across the room. The person walking forward (the one who can see where C.R.A.P. (Cue-Reaction-Action they are going) should guide the other using Principle) eye contact and distance to avoid obstacles. If both of you are maintaining distance and the This acronym upsets some people, but I find leader stops, the follower should also stop. it is easy for them to remember. Every attack This exercise develops trust, non-verbal begins with a cue. The cue varies from move to communication skills, and makes maintain- move. For unarmed combat, it is usually draw- ing distance a second-nature habit. ing the arm or foot back in preparation of the strike. For weapons combat it tends to be cock- ing the weapon back before cutting or thrust- ing. In general, the cue points to the target. For stage productions, the cues tend to be larger than for film. On stage, the cue is 3 a movement which attracts the attention of knees bent and maintain good posture. The the audience so that when the blow is struck, purpose of footwork is to maintain proper they are already looking in that direction and balance while moving the fight in interest- don’t miss the action. Because the camera is ing visual patterns. already focused on the action, film cues tend to be much smaller, sometimes non-existent. The cue also helps the actors by reminding the “victim” where the next attack is going and that it’s on its way. Every cue has an internal rhythm that establishes the speed and timing of the impending attack. A slow cue means a slow attack. A fast cue means a fast attack. A proper cue allows both “attacker” and “vic- tim” a final chance to continue or call it off. The reaction is the “victim’s” response to the impending attack. It could be the beginning of a block or parry, starting to duck, prepar- ing to jump, or widening the eyes. The reac- tion lets the “attacker” know that the actor is ready and the move can be completed. If the “attacker” does not see the beginning of a reaction, it is a signal that the attack should be aborted or redirected into a safe area. The action is the completion of the attack/ reaction sequence. It could be blocking the strike or avoiding the attack, or taking the hit. Every attack involves a cue-reac- tion-action sequence of some kind. Footwork The safest place to be in any fight scene is where the weapon isn’t. Footwork is the key to getting to that safe place. There are enough varieties of footwork pat- terns to write a whole pamphlet on the subject. For now, the fundamental principle to remem- ber here is that whatever foot is bearing the weight is the foot that can’t be moved easily. Proper footwork will allow you to move from one attack to the next with ease. Im- proper footwork will make the choreog- raphy almost impossible to perform. Movement patterns make fight scenes vastly more interesting to watch. Two fighters stand- ing toe-to-toe, duking it out makes for great- sounding literature, but is visually boring. Keep the lessons of balance in mind when performing footwork in a fight. Keep the weight centered between the feet, keep the 4 Angles Your angle to the audience (or camera) needs to follow some basic principles. Remember when I said stage combat is a 1. The weapon needs to appear to move mixture of dance and illusion? Part of the il- from one side of the target to the other.